There are few things more enjoyable in modern music than being artfully pummelled by Scottish experimentalists Mogwai.

Their eighth album comes with the arched-eyebrow title of Rave Tapes but, of course, It sounds more like a comedown after a night of carnage or, maybe, the prelude to a night of carnage.

Mixing electronics, controlled bursts of hypnotic guitar and happily doomy drums and percussion, the whipsmart Scots are dreamy one minute and apocalyptic the next on this ride into the gathering dusk.

On Simon Ferocious (Freddie Mercury's nickname for Sid Vicious) chiming guitars are eventually blacked out by corrosive keyboards and splashy drumming and the excellent Reumurdered (best pronounced the thick accent of Scots gumshoe Taggart) throbs with snyths and skittering percussion before the sudden interjection of an angular synth melody dials up the temperature dramatically.

Hexon Bogon takes a more direct route to its pay-off with churning guitars, dramatic piano chords and a hardcore bass rumble. On the spoken word Repelish, an unidentified Northern Irish voice reads out a righteous condemantion of rock music and Satanism based on a script from a Christian radio station. Deesh is churchy and mournful before shifting into a beautiful cacophony while muted vocals appear again on the baleful collapse of Blues Hour and the elegiac No Medicine For Regret.

This latest emission from Mogwai’s Castle Of Doom studio in Glasgow is another towering monument to the endless possibilities of sound.

Alan Corr